An interactive experience based on simulation theory, challenging people's perception of reality
OBJECTIVE
In this project we wanted to investigate simulation theory. This theory proposes that all of reality, including the Earth and the universe, is in fact an artificial computer simulation. This hypothesis has been a central plot device for many popular films and stories, such as The Matrix (Silver, Wachowski, & Wachowski, 1999), The Thirteenth Floor (Emmerich et al., & Rusnak, 1999), and The Truman Show (Rudin et al., & Schroeder, 1998).
Famously, philosopher Nick Bostrom (2003) argues that the existence of a simulation is very likely to be true. Assuming that technology continues to advance in the future, he proposes that one of three possibilities is true: Either civilizations do not reach a point where they can run a full simulation, or these civilizations can, yet are not interested in running full simulations, or we are in a simulation. He expands on the logic behind this, reasoning that if the third proposition is true, and almost all people with our kind of experiences live in simulations, then we are almost certainly living in a simulation.
We used a blend of digital and physical play to effectively communicate our ideas. Consequently, in the context of simulation theory, we envisioned creating an interactive room with the purpose of challenging people’s perceptions of reality.
The purpose of this was to challenge the participants' view on their surroundings in a short amount of time, while still maintaining a level of fun, and having them walk away with a sense of intrigue and curiosity.
We aimed to achieve this by using a mix of digital and physical interaction. A combination of conventional gameplay via a computer, alongside interaction with different items in the real room. Mixed reality as we like to call it. This showed excellent potential in our prototype stages to not only be engaging, but also to really break boundaries and challenge the participant's perception on reality in two different dimensions.
Unmute the video above for a commentary from our project director
ROLE
TECHNICAL DIRECTOR
As the Technical Director, I was responsible for all things concerning the game engine itself. This primarily encompassed all programming and tech planning. I also worked closely alongside our Art Director to ensure all assets were implemented, and the Installation Director to ensure the digital and physical were working with each other.
My main focus as the Technical Director, was implementing non-Euclidean gameplay into the digital world.
Creating non-Euclidean gameplay is to create impossible spaces only possible in a virtual environment.
Given a hallway where a player is forced to make right/left turns, players have a innate ability to track distance and build a sense of space. For this example, if they walk a meter before making a right turn, they would expect after 3 turns to hit a wall, the space beyond being the hallway they started in. But with Non-Euclidean design, there is no restriction and there could be a room or even a 4th right turn that loops into infinity.
The technical challenge was arduous; although far from impossible, achieving this with the Unreal Engine required a lot modifications and illusions. We couldn't quite bend reality in the engine, but we could create invisible 'portals' that linked spaces together to sell the illusion.
A major hurdle as part of this endeavor was the performance cost it took on the computer. Game engines are efficient by only rendering what is visible and in the immediate area. But our 'portals' could only work if the space beyond was also being rendered, thereby increasing the processing needed significantly.
We used this freedom to warp reality to great effect, further challenging players' perception of reality. Creating impossible spaces and paths that immediately trigger a sense of unease, but at the same time of curiosity.
OUTCOME
Our project was very well received when we showcased it. People loved the blend of physical and digital play, and were thoroughly immersed even in the short period of time. We challenged the world views of participants by using the context of simulation theory in our exhibit, which was further supported by the theatrical elements of our project to great effect. Although many compromises had to be made, which saw the scope of the project being smaller, we produced a well-rounded polished exhibit that we took great pleasure in bringing it to life.